This excellent CD features pianists Bill Charlap and Ted Rosenthal, who both played stints with Gerry Mulligan; bassist Dean Johnson and drummer Ron Vincent (who conceived this session) are also Mulligan alumni. What is unusual about this Mulligan tribute is that it covers his compositions without reeds of any kind. Mulligan was an excellent pianist (he played some piano with his groups in the 1950s and '60s and stuck to piano exclusively during his guest appearance on Marian McPartland's Piano Jazz); the give and take between Rosenthal and Charlap captures the essence of their former leader's works. The two pianists play together without their rhythm section on the jaunty "Walkin' Shoes" and the lesser-known but dramatic ballad "Curtains." Ron Vincent's crisp brushwork is added to the pianos during "Bark for Barksdale." Rosenthal's feature with the trio is the melancholy "Lonesome Boulevard," while "Noblesse," a relatively obscure ballad, is Charlap's trio feature. The remaining tracks utilize the full quartet; "Line for Lyons" and "Wood On Wood" are among the choice cuts. Perhaps the quartet will choose to explore "Good Neighbor Thelonious" and "K-4 Pacific" on a follow-up session. A chat by the musicians, titled "Jazzspeak," concludes the CD. ~ Ken DrydenFeaturing: Bill Charlap, Ted Rosenthal (piano), Dean Johnson (bass) and Ron Vincent (drums).

Renowned drummer Jorge Rossy lays down his sticks and picks up the mallets as he displays his love of melody on the vibraphone and marimba. Jorge has brought along three old friends, contemporary jazz masters tenor saxophonist Mark Turner, guitarist Peter Bernstein, and bassist Doug Weiss. Add to the mix legendary drummer Al Foster of Miles Davis fame and you have a potent musical elixir. Modern jazz at its melodic best.Jorge Rossy (Vibes, marimba); Mark Turner (Tenor saxophone); Peter Bernstein (Guitar); Doug Weiss (Bass); Al Foster (Drums).

Working with connections from within the BMSS Family as well as personal ones, this CD features a largely European lineup placing newcomers alongside well-known artists like Vertex, Solar Spectrum, Datacult and Elegy.Alexsoph's first solo compilation for BMSS Records presents a wide angle view on the space between Progressive Trance and Psytrance but flips it upside down. Using a selection of references cleverly pitched down, Alexsoph creates a space for a deep and hypnotic journey.Each track merges seamlessly with the next driving, intricate composition. Provocative intros and moving energetic textures are rounded out by no-nonsense throbbing beats and basses. Subtle atmospheres and deconstructed melodies work together to create a distinct depth that never looses it's psychedelic vantage point. Sparse but well-placed elements manipulate the remaining space to create a low-pitched mysterious quality.Panorama is a brilliant, refreshing reinterpretation of the space between Progressive Trance and Psychedelic Trance. Mastered by Stryker.

Namaste Records is proud to announce his first release ! We called it "Psylosophy" because it's our way of life, our way of thinking. The result of one of the most sparkling selection of international psytrance scene. Don't miss the oportunity to spread this way of thinking all around the world !

Letting the good times roll again, with this second visit to the dynamic South Louisiana R&B scene there is no waver in the quality of music.We've added the work of another Louisiana record man, Sam Montel from Baton Rouge, to the vast stockpile of material in the vaults of J.D. Miller, Eddie Shuler, Floyd Soileau and Jake Graffagnino.Sam (originally Montalbano) got into the music business when his childhood friend Jimmy Clanton hit the charts. Sam became his road manager and the whole scene got into his blood. He decided to start his own record label when only 18 years old. His first release, Lester Robertson's 'My Girl Across Town', is included here, as is a previously unissued outing from Robertson.The Montel label had considerable success with artists including John Fred, Dale & Grace and the Boogie Kings, all attracting strong sales. We will be pulling out more R&B, swamp pop and rockin' goodies from these vaults for future releases in the "By The Bayou" series.The other label owners - J.D. Miller from Crowley, Eddie Shuler from Lake Charles, Floyd Soileau from Ville Platte and Jake Graffagnino from Opelousas- have all had recordings featured on our earlier CDs. Like Sam, they could all spot talent and got the best out of their artists. It means Ace has the opportunity to bring you dynamic tracks from an area of the USA so very rich in talent. In addition to the talents of the lead vocalists, the backing musicians on many of the tracks are also very accomplished.Guitar Gable is heard on many titles, as is Katie Webster on piano, sax giant Lionel Torrence, drummers Jockey Etienne and Warren Storm and Lazy Lester, who would play whatever instrument was asked of him; all are featured on many of the Crowley recordings.Classie Ballou's band was used often at Goldband, while the Upsetters, Little Richard's former outfit, can be heard on Lester Robertson's tracks.The excitement of discovering new material such as the track by Tabby Thomas, the previously unknown and romping version of 'Flat Foot Sam' by TV Slim and the downright nasty 'Oh Mama (Cajun Blues)' by Classie Ballou is undiminished. Bracketing them with other fabulous unknown recordings, unissued alternates and long deleted masterpieces is a pleasure and a privilege.If you have rhythm in your bones and a love of the raw and rockin' then "Rhythm'n'Bluesin' By The Bayou - Rompin' & Stompin'" is going transport your spirit to a Louisiana juke joint. ~By Ian Saddler

A follow up to 2002's highly successful Santa's Got Mojo - An Electro-Fi Christmas Blues Celebration. Vol 2. continues the tradition with 11 superb original and classic holiday recordings from some of today's top Blues acts including: Shakura S'Aida, Finis Tasby with Enrico Crivellaro, Paul Oscher, Harrison Kennedy, Fathead, Fruteland Jackson, and Diana Braithwaite & Chris Whiteley. Also included is a special bonus studio track from 1999 of the late Guitar Legend Mel Brown performing the Christmas classic Merry Christmas Baby with his band The Homewreckers. Celebrate the Holidays right with Santa's Got Mojo 2. The best Christmas Blues collection in years!

2013 release from the Jazz saxophonist. In the 15 years since the release of his debut record, saxophonist Steve Cole has traveled full-circle creatively and arrived back home on Pulse, the 10-song set mixing R&B, contemporary Jazz, Gospel, Blues and Pop that he produced with fellow saxman David Mann. This collection surveying Cole's musical passions showcases the artist's affinity for infectious melodies, a wall of horns and soulful grooves. It also displays a musician comfortable in his own artistic skin.

This work is one of the more industrious offerings from him making it very easy to work or be creative too. He puts the whole orchestra thru it's paces while coming off light and cheerful. There are minor key moments but they are handled with suspense rather than sorrow.

The proverbial musical chameleon, Duncan Browne recorded the post-psych chamber pop classic Give Me, Take You album in 1968 before re-emerging four years later with the introspective singer/songwriter hit single 'Journey'. By the mid-1970s, he had signed to the Transatlantic label as a member of Euro art rock sophisticates Metro, a trio whose calling card, 'Criminal World', was covered by David Bowie on his 1983 album Let's Dance, which went on to sell over ten million copies. Leaving Metro after their debut album, Duncan resumed his solo career, recording two highly-regarded late 1970s albums for Transatlantic (by now re-branded Logo), with The Wild Places and its title track single both reaching the Top Ten in one or two European territories. This anthology covers his time with Transatlantic/Logo, both with Metro and as a solo performer. It includes the long-lost late 1979 recording 'China Girl' (no relation to the Bowie/Iggy Pop song), which now gains its first-ever release in any format.

Tom Adams grew up in and around Cambridge, one of the flattest parts of the country.Being around all this open space clearly had an impact on the young composer's music, with its languid, exploratory, wide-open feel.It wasn't until a move to Berlin, however, that Tom Adams truly found his voice. He explains: �The night I arrived I went to a Nils Frahm show. After his set he invited a member of the audience to come onstage and play. I got up and the response was amazing.�The change of scene ushered in a change of style, with the composer embracing elements of left-field electronics. Tom continues: �I have in the past been extremely focused on making things perfect in my music, but now I�ve learnt to accept the noise and embrace imperfection.�Modern classical, the composer's fusion of chamber voicings and experimental electronics is matched to a supreme grasp of mood and atmosphere.New album 'Silence' offers eight tracks of introspective leanings, with Tom Adams embarking on a series of improvisatory explorations.